Summer listening: Revelations from Ravi Coltrane to Bobby Broom

June 19, 2012|Howard Reich | Arts critic

In jazz, summer listening does not necessarily mean easily listening. The music can be bold (as in Ravi Coltrane's new "Spirit Fiction"), genre-breaking (Matt Ulery's "By a Little Light") and unexpected (Bela Fleck and Marcus Roberts' "Across the Imaginary Divide").

Following are highlights of the newest wave of jazz releases:

Ravi Coltrane: "Spirit Fiction" (Blue Note). Coltrane's much anticipated debut on Blue Note represents a significant achievement, albeit a largely introspective one. Though the saxophonist – a son of Alice and John Coltrane – has proven that he can ignite a storm when so inclined, for this date he leads two distinct bands, each showcasing the signature translucence of his tone and nimbleness of his thought. Unconventional phrasings and surprising silences, transparent ensemble textures and provocative harmonic choices stand at the core of most of this music, whether penned by Coltrane or others. Yes, sonic distinctions are unmistakable between Coltrane's long-standing quartet (with pianist Luis Perdomo, bassist Drew Gress and drummer E.J. Strickland) and an edgy quintet (featuring trumpeter Ralph Alessi, whose compositions figure prominently here, plus pianist Geri Allen, bassist James Genus and drummer Eric Harland). Yet it's Coltrane's elusive melodic gestures and ethereal ensemble sounds that linger longest in memory, especially in the daring, free-ranging improvisations of "Roads Cross," which opens the album, and the serene melody making of Coltrane's "The Change, My Girl." Noted saxophonist Joe Lovano co-produced the recording with Coltrane, and Lovano picks up his tenor saxophone for a hard-charging version of Ornette Coleman's "Check Out Time" and intricate duets with Coltrane on Paul Motian's "Fantasm." Ultimately, Coltrane has given listeners a great deal to ponder in this album, a musically adventurous recording that may be challenging for casual listeners but rewards repeated listening.

Matt Ulery:"By a Little Light" (Greenleaf Records). This magical, profoundly musical release embraces more aesthetic influences than one might have thought a cohesive recording could. Drawing upon jazz, classical and Eastern European folkloric languages, among others, "By a Little Light" at first seduces the ear through its unusual instrumentation: jazz trio plus vibraphone, glockenspiel and classical chamber instrumentation (performed by members of the ensemble eighth blackbird and others) But it's what Chicago bassist Ulery has written for these instruments that counts most, his compositions sometimes sublimely melodic, sometimes hypnotically repetitive but always exquisitely arranged. The second of the album's two CDs features the haunting vocals of Polish-born, Chicago-based singer Grazyna Auguscik, accompanied by Ulery's enchanting, genre-defying extended ensemble. Though Ulery clearly felt strongly enough about this material to join her on vocals, the nondescript quality of his singing suggests the recording would have been stronger without this contribution. Even so, the originality and purling beauty of this release cannot be overstated.

Zach Brock:"Almost Never Was" (Criss Cross Jazz). Violinists always have been marginalized in jazz, notwithstanding the silken beauty of Stephane Grappelli's work and the historic contributions of Joe Venuti, Eddie South, Ray Nance and others. For this reason, and others, we should give thanks for the deepening contributions of Brock, whose every phrase argues for the instrument's value in 21st century jazz. Though Brock commands plenty of technique and a vibrantly attractive sound, it's the substance of his musical ideas that commands the most attention. You can hear as much on every track of "Almost Never Was," from the sprightly pizzicato passages of his "Common Ground" to the atmospheric effects of Joe Henderson's "Black Narcissus," from the soulful utterances of "You've Changed" (you'd swear he was playing a viola) to the gorgeous melody line of the title track, a Brock original. The violinist partners effectively with pianist Aaron Goldberg, bassist Matt Penman and drummer Eric Harland, but it's Brock's soaring lyricism that defines this recording.